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Thursday, Jul 5, 2007

A friend of mine who works for an indie label once said “when artists are ready to pack up and out their albums, book their own tours and do all of their own marketing, then we can start worrying about our jobs.”  He was being facetious of course, thinking that most artists didn’t want to do this dirty work and instead concentrate on their craft.  To some extent he’s right but with other promo opportunities available, this might not be such a far-fetched idea anymore.


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Thursday, Jul 5, 2007

Is Islamic terrorism an expression of class struggle? Or, in other words, is it a consequence of the deprivation that comes from disparities of income and the injustice that derives from systematic exploitation? Is it merely a religious expression of proletarian discontent? In his Capital column in today’s WSJ, David Wessel takes a look at the research Princeton economist Alan Krueger has done on the closely related question of terrorism’s relationship to poverty levels.


“As a group, terrorists are better educated and from wealthier families than the typical person in the same age group in the societies from which they originate,” Mr. Krueger said at the London School of Economics last year in a lecture soon to be published as a book, “What Makes a Terrorist?”
“There is no evidence of a general tendency for impoverished or uneducated people to be more likely to support terrorism or join terrorist organizations than their higher-income, better-educated countrymen,” he said. The Sept. 11 attackers were relatively well-off men from a rich country, Saudi Arabia….
“The evidence is nearly unanimous in rejecting either material deprivation or inadequate education as an important cause of support for terrorism or of participation in terrorist activities,” Mr. Krueger asserts. The 9/11 Commission stated flatly: Terrorism is not caused by poverty.
So what is the cause? Suppression of civil liberties and political rights, Mr. Krueger hypothesizes. “When nonviolent means of protest are curtailed,” he says, “malcontents appear to be more likely to turn to terrorist tactics.”


This line of inquiry reminded me of some of the issues at stake in Laclau and Mouffe’s Hegemony and Socialist Strategy. (I expended so much mental energy trying to extract coherent ideas from that dense thicket of opaque abstraction that I’ll grasp at any occasion to make reference to it now.) Looking at the Marxist tenet that the working class has a unique interest in socialism, they argue that politics may not necessarily spring from economic interests—that the politics and the ideology supporting them may develop independently, that they are contingent and constructed ad hoc by discursive practices at any given moment. (In some ways this is an elaborate way of making Frank Luntz’s or George Lakoff’s point about framing. Carefully crafted language can shape the debate surrounding issues in ways that influence people regardless of what their economic interests dictates they should believe.) Hence demagogues or interloping intellectuals can attempt to contrive a unified movement around basically any idea that generates a reaction, that seems to address sources of discontent, which themselves may be recharacterized in various ways by a skilled rhetorician.


If politics, when separated via language and identity-construction issues from economic grievances, indicates the possibility of the “radical democracy” Mouffe and Laclau theorize, then terrorism detached from economic misery may not be an symptom of the lack of democratic values, as Krueger and Wessel suggest in the article, but may instead be a twisted expression of them, a misguided belief that the “people’s will” is being implemented directly rather than through institutional change, whether it be revolutionary or incremental. The idea that politics is merely a matter of discourse, of momentary tactics of garnering attention and magnetizing eyeballs, opens it to the conceivable possibility that it can be shifted dramatically not by building up awareness of class struggle, formalizing class unity, intensifying the contradictions inherent in the relations of production and so on—working with a theorized praxis backed by a historical analysis—but instead through sudden irrational interventions, terrorist acts designed to assign a different valence to governing notions in circulation. Such a theory of “radical democracy” may make desperate acts seem credible and efficacious. If you rule out subjects in history and plausibel ends such subject may have, then terrorism—a means with no achievable end—seems a reasonable political practice.


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Thursday, Jul 5, 2007

After dumping on the hype about the iPhone, I can’t resist adding another piece of information about why I’m suspect about (nearly) everyone’s favorite gadget of ‘07.  This Alternet article lays out the case that the Working Assets group has against Apple’s product.  While telecomms bowed to the Bush administration’s illegal wire tapping scheme, Apple was happy to work with one of them but as the article points out WA might have unwittingly too.  Be that as it may, the larger point is that Apple has tied down their system to one single carrier (AT&T) while shutting out the other phone companies, who (in fairness) did have a shot at the iPhone previously.  Not only does it force any drooling consumer to drop their carrier for AT&T but it also stifles any innovation or new players in a tightly controlled (aka monopolized) market.


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Thursday, Jul 5, 2007

Yesterday’s Los Angeles Times ran a story about a Telemundo news correspondent who has been assigned to cover politics, local news and the city’s mayor for the last year and a half. Turns out she’s been covering him closely. REALLY closely. As in she’s-the-reason-he-no-longer-wears-a-wedding-ring closely.


The story dutifully consulted experts who explained it’s something of a faux pas to sleep with sources. In the Times article, Telemundo defended its correspondent, one Mirthala Salinas.


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Wednesday, Jul 4, 2007

Basically, movie soundtracks are divided into three generic types. The first is the most recognizable and familiar - the basic score release, a composer-created set of cues that illustrate the basic sonic signatures in the film. Sometimes, an original number of two can be added to amplify the mercantile possibilities, but for the most part, it’s all instrumentals and mood. The second kind of collection was forged most successfully in the ‘80s. Call it the K-Tel conceit, or the packaging of potential hits, but these pop song laden albums are meant as slyly subtle tie-ins to the motion picture proper. Sometimes, the tunes featured are merely “suggested” by the title they are connected to (meaning they don’t actually appear in the movie itself). The last soundtrack standard is the one based on the actual movie musical. Prior to its death as a cultural commodity around 1975, original cast recordings from the song and dance epics were chart topping smashes. They ruled Billboard before The Beatles came along and realigned the entire notion of popularity.


In this first edition of SE&L’s revamp of the PopMatters’ Surround Sound brand (it will be a blog feature from now on), we get an interesting overview of all three concepts. First up is a mostly wordless workout on a terribly tired A-list entity. While it hopes to hint at hep-ness, it’s more vague than Vegas. Second, there’s a CG cartoon companion piece that often feels like the bumper tunes played at the Caribbean version of the Super Bowl. One amazing moment of artistic clarity stands out, though. And finally, one of the most anticipated movies of Summer 2007 delivers its pre-release set of shifted over showtunes. Oddly enough, it appears that something incredibly campy and busy found its way from the boards of Broadway to the encoded information of the aluminum disc. While perhaps not the best examples of movie music’s power and potential, the trio of albums here do a bang up job of illustrating the kind of releases the studios depend upon to heighten overall awareness.


Ocean’s 13 [rating: 5]


There is something very cold and calculated about the oh so hip ‘coolness’ composer/DJ David Holmes is putting forth on this, his third dip into Danny’s Ocean. The latest aural investigation of the Stephen Soderbergh Rat Pack redux finds Holmes still generating that old fashioned space age bachelor pad Muzak via some decidedly high tech toys, lost in a natty nostalgia that seems geared to those who get their sonic memories supersized via Starbucks.  The results sound oddly familiar and yet almost antiseptic, reminiscent of what robotic lounge lizards would generate if they were in charge of the party. There’s no denying the initial allure – jazzy horns and tumbling vibes always bring out one’s inner jet setting bon vivant – but Holmes is merely the student hoping to imitate a far more formidable set of masters. And then, just to make things a little more complicated, the studio tosses in tracks from Frank Sinatra (“This Town”) and Puccio Roelens (a rather dry version of the standard “Caravan”) just to show how far off base he really is.

Still, there are elements here that really do set the proper playful tone for the film – which is all a score is supposed to do, at the end of the day. Indeed, the very first track, “Not Their Fight” will probably be absconded one day by Quentin Tarantino, so strong is it’s trippy throwback mentality. Driven by a particularly slinky bass, the kicky “Kensington Chump” is all burbles and undulating aural quirks. “Laptops”, only a minute long, sounds like the greatest unused opening riff in all of late ‘60s rock, while “Dice Men” could have been the backdrop to any number of Peace Generation acid casualty love ins – that is, until it breaks into a series of ‘70s cop show shout-outs, and more or less arrests itself. But the real standout inclusion is by another non-Holmes’ contributor. Motherhood, which can best be described as the real deal, delivers the dynamic “Soul Town”, a collection of concrete hooks and haunting female trills that literally sends the short hairs on the back of your neck craning upward for a listen. It has an electricity that Holmes himself and the rest of the Ocean 13 CD can barely muster.


Surf’s Up! [rating: 4]


As with most varying artist outtakes, b-sides, and popular hits compilations, the mood of the movie moment is clearly and loudly signaled by each and every song. Indeed, all throughout Up’s amiable track list, we can experience the film’s two overriding levels of honest emotion – call them “Let’s Party!” and “Let’s Chill”. On the side of sun and fun are random auditory clichés like the Romantics thoroughly overplayed Kinks vamp “What I Like About You” as well as retakes on time tested tunes like “Wipe Out” (by Big Nose) and “Reggae Got Soul” (by 311). But when the narrative needs to turn all pensive or prophetic, it pulls out the slow, languid acoustics of Nine Black Alp’s “Pocket Full of Stars” or Incubus’ “Drive”. In fact, you can almost set your internal emotional clock by the way this CD unfolds. Happiness leads to heartbreak as histrionics meld into heroism. By the end – a rather routine “Hawaiian War Chant (Ta-Hu-Wa-Hu-Wai) by Bob Wills and his Texas Playboys – you can just visualize the 3D cartoon characters walking into the computer generated sunset, story told and overall entertainment value confirmed.

There are some surprises here. Pearl Jam, a band one wouldn’t normally associate with a family film soundtrack, pops up to provide its standard angst-propelled passion for the appropriately titled “Big Wave”, while those lost superstars the New Radicals are revisited with their signature anthem “You Get What You Give”. A big surprise here is the inclusion of a track by Ms. Lauryn Hill. Absent from the charts since 2002’s MTV Unplugged No. 2, her inclusion – a gorgeous ghetto groove called “Lose Myself” – maintains her continuing status as an artist of infinite possibilities. The scratchy funk backdrop, met almost instantly by some spacey, ethereal ‘80s new wave keyboards, leads to a melodic and lyrical intensity that causes one’s jaw to drop…into an easy smile. In some ways, this is the former Fugees’ rewrite of Outkast’s “Hey Ya” – there’s the same pure pop conceit, but an undercurrent that downplays the inherent effervescence. Unfortunately, it’s a level of musical mastery that makes even the classic tracks on this hit-oriented collection blush in aesthetic embarrassment.


Hairspray the Musical [rating: 5]


To the unfamiliar ear, the score for the hit Broadway extravaganza based on John Waters’ far wittier coming of age comedy was like Howard Ashman and Alan Menken’s Little Shop of Horrors fused to a determined devotee’s idea of what a Great White Way show should sound like. It’s big! It’s brassy! It’s beaming with all kinds of gonzo gay pride! And yet for some reason, the fevered pitch via which composer Marc Shaiman vamps his vision of Baltimore circa 1962 is both sincere and kind of shallow. There’s a crowdpleaser desperation buried at the base of each number, a ‘sell it to the balcony’ sense of showmanship that can be both glorious and grating. Similar to how Mel Brooks managed a Tony out of what is basically a bunch of forgettable, half-formed songs, Hairspray tries to walk the walk, but ends up drowning in its own disposability. Fifty years from now, when directors are hungry for solid shows to revive, this is one that won’t be tallying up those longevity royalties.


Indeed, without someone like South Park’s Trey Parker alongside to balance out the kitsch factor (the two collaborated on the Oscar nominated songs for the cartoon’s big screen debut), Shaiman is shameless. He borrows so much from the aural clichés of the era that you find yourself playing an internal guessing game over who he’s stealing from/homaging next. “Good Morning Baltimore”, the show’s (and movie’s) opening number is like a gigantic girl group tribute taken to tacky extremes. Sadly, Rachel Sweet did it much better when she crafted the title track to Waters’ film. Even the new songs, specifically fashioned for this release (and added Academy attention come awards time), are almost too familiar to be considered original. Indeed, the first ‘single’ from the soundtrack, Zac Efrom’s “Ladies Choice” is just “Hand Jive” with tween appropriate sentiments. While it’s a kick to hear star John Travolta croon alongside screen ‘hubby’ Christopher Walken on the number “(You’re) Timeless to Me”, this is one CD that needs the musical from whence it came, and all the goodwill associated with same, to overcome its ditzy desperation.



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